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Ederheimer 
Illustrated  Catalogue 


Drnia 
al 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 

Ex  Libris 
Charles  Rann  Kennedy 

Gift  of 
Margaret  Gage 


SPECIAL  PUBLICATION  NO.  7 


THE  GREAT  TRIFOLIUM 
OF  ENGRAVERS  OF  THE  XVIth  CENTURY 


Representative  and  Comparative  Exhibition  of  Their  Work 

January  1 7th  until  February  7th  inclusive 

1914 


366  FIFTH  AVENUE,  NEW  YORK 
(Near  35th  Street) 


- 


ILLUSTRATED  CATALOGUE  TO  AN  EXHIBITION  OF 

Engravings  by  the  Three  Great  Masters 
of  the  1 6th  Century 

Albrecht  Durer — Lucas  Van  Ley  den 
Marc  Antonio  Raimondi 


PRECEDED  BY 

PREFACE  BY  GEORGE  S.  HELLMAN 

AND 

ALBRECHT  DURER'S  MYSTICAL  TETRALOGY 

"A  FANTASY  IN  VERSE" 
WITH  INTRODUCTION  BY  RICHARD  EDERHEIMER 


THE  POEMS  IN  THE  TRANSLATION  FROM  THE  ORIGINAL 

GERMAN  BY 

FRANCES  HELLMAN 


FOLLOWED  BY  THE  ORIGINAL  GERMAN  VERSION 


THE  EXHIBITION   WILL    OPEN   SATURDAY,  JANUARY    17th, 
1914  AND  WILL  LAST  UNTIL  THE  SEVENTH  OF  FEBRUARY 


R.  EDERHEIMER      PRINT  CABINET 

366  Fifth  Avenue,  New  York 


COPIES  OF  THIS  CATALOGUE 
ONE  DOLLAR 


Copyright  1 9 1 4  by  R.  Ederheimer 


UKANGID  AND  PRINTED 
BY  THK  BARNES  PRINTING  CO. 
>,(>  EAST  und  STREET,  NEW  YORK 


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:    PREFACE 


I  HERE  is  a  special  fitness  in  assembling 
in  one  Exhibition  representative  works 
of  Diirer,  Lucas  van  Leyden  and 
Marc-Antonio,  both  from  the  point  of 
view  of  art  and  of  history.  The  last 
years  of  the  Fifteenth  century  and  the 
early  decades  of  the  Sixteenth  formed 
one  of  the  most  fruitful  periods  in 
the  annals  of  the  human  race.  We 
Americans  recall  it  especially  as  the  time  of  the  discovery  of 
our  continent,  but  a  far  more  important  discovery  than  that  of 
land  had  been  made  by  the  men  of  the  early  Renaissance.  Life, 
and  the  beauty  of  life,  was  their  discovery.  With  them  the 
world  ceased  to  be  the  habitation  of  beings  hampered  by  the 
belief  that  human  life  was  a  sinful  thing,  a  stage  of  probation 
over  which  hovered  the  shadow  of  relentless  punishment  in  an 
eternal  Hell.  The  spirit  of  rejuvenation  manifested  itself 
throughout  Europe,  but  to  Italy  most  of  all  is  due  the  credit  for 
the  propagation  of  the  new  faith  in  the  inherent  value  of  human 
life;  Italy,  of  course,  was  the  first  to  absorb  the  inspiration  of 
those  Greek  and  Roman  classics  which  had  been  so  contemptu- 
ously neglected  or  reviled  during  the  Dark  Ages. 

Previous  to  this  re-awakening  religion  and  warfare  had 
largely  absorbed  the  faculties  of  man.  Such  artists  whose 
genius  had  been  able  in  some  measure  to  find  beautiful  expres- 
sion even  within  the  confines  of  purely  religious  art  were  now 
to  give  way  to  men  who  found  in  all  aspects  of  life  material 
for  their  creative  talent.  In  the  sphere  of  engraving  the  three 
great  names  of  that  period  are  those  of  Diirer  in  Germany,  Lucas 


U 


van  Leyden  in  Holland,  and  Marc-Antonio  in  Italy.  Diirer,  the 
greatest  of  the  three,  influenced  the  other  two,  who  knew  him 
personally  as  a  man  as  well  as  through  his  works.  The  influence 
of  Diirer  is  obvious  only  in  the  later  work  of  Lucas,  and  there 
in  general  style  rather  than  in  any  particular  design;  while  the 
Italian  master  directly  copied  some  of  the  compositions  of  the 
great  German.  All  three  of  them  were  consummate  in  tech- 
nique, and  we  could  traverse  the  ages  without  finding  their  supe- 
riors in  the  wielding  of  the  burin. 

Mr.  Ederheimer,  in  introductions  to  catalogues  of  previous 
exhibitions  of  Marc-Antonio  and  Lucas,  has  gone  sufficiently 
into  their  biography  and  the  description  of  their  masterpieces, 
while  the  life  and  work  of  Diirer  is  so  well  known  to  lovers  of 
art  that  there  is  no  need  here  to  repeat  the  familiar  facts. 
Rather  would  I  say  a  word  of  the  notes  and  the  verses  concern- 
ing Diirer's  four  masterpieces,  which,  in  this  catalogue,  have 
taken  the  place  of  the  more  usual  critical  introduction. 

The  validity  of  Mr.  Ederheimer's  interpretation  of  the  sig- 
nificance of  the  "Adam  and  Eve,"  the  "Melancholia,"  "Knight, 
Death  and  Devil"  and  the  "St.  Jerome  in  his  Cell,"  as  well  as 
the  poetical  value  of  his  verses,  I  leave  to  others  to  consider. 
The  points  that  I  would  emphasize  are  the  interest  of  the 
attempt  at  such  interpretation,  and  the  interest  of  the  inclusion 
of  such  verses  in  a  dealer's  catalogue.  Dealers,  whether  in  paint- 
ings or  pig  iron,  in  bonds  or  books,  are  of  two  kinds:  those 
with  whom  business  profit  is  a  not  to  be  neglected  consideration, 
and  those  with  whom  profit  is  the  only  consideration.  In  the 
former  class  belong  the  students  of  theory,  the  experts,  the 
lovers  of  their  work,  the  men  of  research  and  authority.  They 
see  their  work  in  a  larger  light  than  those  whose  gaze  is  nar- 
rowly intent  on  the  cash  register.  They  must  have  that  imagina- 
tion which  not  alone  accentuates  what  is  permanently  significant 
but  which  also  endows  its  possessor  with  a  sense  of  true  propor- 
tion in  all  that  relates  to  human  activities.  In  finance  they 
move  in  a  wider  world  than  the  four  walls  of  their  banking 


Marc  Antonio 


Cat.  No.  55 


APOLLO    AND    HYACINTHUS 


house ;  for  them  there  is  no  incongruity  in  a  manufacturer  being 
a  man  of  letters;  in  the  art  world  they  are  first  of  all  sincere 
lovers  of  art.  Success  can  come  in  other  ways:  I  recall  a 
wealthy  and  well-known  publisher  who  once  told  me  that  he 
bought  literature  as  a  grocer  buys  potatoes.  As  a  business  man 
he  saw  no  difference  commercially  between  potatoes  and  books. 
But  that  is  not  the  kind  of  success  that  men  of  Mr.  Ederheimer's 
temperament  consider  primary,  nor  is  it  the  kind  of  success  that 
contributes  to  the  culture  of  a  nation.  The  business  man  who 
is  entirely  commercial  seldom  gets  away  from  the  conventions  of 
his  trade;  the  other  type  sets  new  boundaries,  and  ventures  on 
what  seems  to  him  cognate  and  expressive,  without  regard  to 
conventional  criticism.  From  this  point  of  view  Mr.  Eder- 
heimer's verses  seem  to  me  especially  refreshing  in  the  catalogue 
of  a  New  York  dealer. 

The  other  point  is  that  of  the  interest  of  the  interpretation 
of  Diirer's  four  famous  engravings.  Here  let  the  author's  notes 
speak  for  themselves;  but  well  may  this  be  borne  in  mind: 
Art — whether  music  or  poetry,  painting  or  engraving — is  great 
in  proportion  to  its  inherent  power  of  high  pleasure-giving — 
great,  therefore,  according  to  what  those  who  are  qualified  to 
judge  can  get  from  the  creation  of  the  artist.  What  Lowell 
saw  in  Don  Quixote,  what  Pater  found  in  the  Mona  Lisa — con- 
firms the  supremacy  of  literature's  greatest  novel  and  art's 
greatest  canvas.  Great  art  not  only  stirs  the  emotions,  but 
always  potently  stimulates  the  imagination.  Perhaps  no  other 
engraving  can  compare  with  the  "Melancholia"  in  this  inherent 
power  of  suggestive  beauty — a  beauty  wherein  mingles  a  mysti- 
cal wonder  with  the  wisdom  of  experience.  Mr.  Ederheimer's 
interpretation  of  this  masterpiece  in  its  relation  to  the  other 
three  great  plates  must  surely  add  to  the  general  recognition  of 
the  marvellous  genius  that  casts  such  glamour  over  the  works 
of  Diirer. 

George  S.  Hellman. 


ALBRECHT    DURER'S    MYSTICAL    TETRALOGY 

A  FANTASY  IN  VERSE 

WITH  INTRODUCTION  BY  RICHARD  EDERHEIMER 


The  Poems  in  the  Translation  from  the  Original  German  by 
FRANCES  HELLMAN 


INTRODUCTORY    NOTES 

|HEN  reciting  the  original  of  the  follow- 
ing verses,  I  was  approached  by  various 
friends,    as   well-meaning   as   critical, 

W|jjS|  with  the  question:  "Why  did  you  not 
ill  treat  this  new  and  probably  quite  jus- 
tifiable interpretation  of  the  most  im- 
portant work  of  the  greatest  German 
artist  of  all  times  in  the  form  of  a 
scientific  essay?"  This  question, 
which  other  readers  may  propound, 
answers  itself.  A  diamond  can  only  be  cut  by  a  diamond;  and 
a  small  splinter  of  the  jewel  is  sufficient  to  dissect  a  larger  one. 
Thus  in  art.  Dry  analytical  criticism  cannot  do  full  justice  to 
a  great  piece  of  art.  Genuine  art  always  and  eternally  inspires 
the  desire  for  genuine  art,  even  though  expressed  through  a 
weak  medium.  I  can  well  imagine  that  a  great  piece  of  poetry, 
a  sublime  painting  may  be  interpreted  symphonically  by  music, 
and  that  thus  values  and  effects  can  be  attained  for  which  our 
richest  vocabulary  would  be  insufficient.  Thus  I  felt  here. 
Not  having  music  at  my  command,  I  adopted  verse,  in  order 
L<>  reproduce  as  nearly  as  possible,  by  melody  of  rhythm,  the 


tone  prevailing  in  the  Diirer  prints  and  their  mystical  idea.  For 
music  is  the  very  essence  of  art,  the  loftiest  medium  of  expres- 
sion. Therefore  I  selected  the  form  of  the  symphonic  poem, 
in  order  to  interpret,  though  only  in  words,  my  conception  of 
the  most  sublime  poem  on  the  destiny  of  the  human  soul  (Schick- 
salslied  der  Seele). 

Through  all  times  it  has  been  recognized  that  there  existed 
some  connection  in  the  ideas  of  Diirer's  three  capital  engravings: 
The  "Melancholia,"  "Knight,  Death  and  Devil"  and  the  "St. 
Jerome  in  His  Study." 

Others  have  tried  to  prove  that  these  engravings  were  meant 
to  represent  some  sort  of  "mystical  Trilogy" ;  and  much  has 
been  said  and  written  about  the  meaning  of  these  three  prints. 

Not  as  a  consequence  of  long  research  and  industrious 
scientific  labor,  but  spontaneously,  came  to  me  the  perception 
which  I  here  try  to  represent  and  which  embodies  a  conviction 
that  Diirer's  principal  creation  must  be  regarded  as  the  prototype 
of  that  mystical  thinking,  which  was  especially  apparent  in  the 
Middle  Ages  and  the  Renaissance  period,  and  which  has  occu- 
pied the  greatest  minds  at  all  later  times.  Almost  as  if  some 
veil  had  been  lifted  from  my  eyes,  there  came  suddenly  the 
recognition  that  the  mysticism  of  Diirer,  of  Goethe,  as  well  as 
that  of  Maeterlinck  and  the  aged  Wagner,  who  wrote  "Parsifal," 
are  closely  related.  Pure,  genuine  art  is  a  part  of  the  soul  in  its 
highest  development.  The  Soul,  however,  is  the  very  essence 
of  all  that  is  mystical.  Consequently  all  true  artists  must  be, 
more  or  less,  and  consciously  or  unconsciously,  Mystics.  And 
it  was  the  task  of  the  arts  of  all  times,  in  classical  tragedy,  as 
well  as  in  painting  and  sculpture,  in  poetry  as  well  as  in  music, 
to  reproduce  the  suffering  and  bliss  of  the  soul ;  in  other  words, 
human  fate. 

Whether  Goethe,  in  his  "Faust,"  was  consciously  influenced 
by  Diirer's  work  is  disputable.  It  is  apparent,  however,  that 
the  ideas  dominating  both  works  are  related,  if  not  identical. 

Of  all  that  Diirer  has  created  with  the  burin,  excepting  the 
two  very  early  engravings:     "The  Prodigal  Son"  and  the  "Rape 

7 


of  Amymone,"  no  other  plate  is  of  the  same  size  as  those  of 
"Adam  and  Eve"  and  the  three  famous  engravings  already  men- 
tioned ;  none  shows  as  much  perfection  of  execution,  nor  has  any 
received  as  much  preparatory  labor  as  the  last  four  conceptions. 
Granted  the  fact  that  "Adam  and  Eve"  antedates  the  other  three 
engravings  by  about  ten  years,  this  does  not  exclude  the  possi- 
bility of  some  connection  in  the  plan  of  these  four  subjects.  The 
idea  may  have  ripened  to  perfection  within  these  ten  years  only. 
What  are  ten  years  in  the  shaping  of  the  very  nucleus  of  thought 
in  one  of  the  greatest  in  arts?  I  see  in  "Adam  and  Eve"  a 
sort  of  "Prologue  in  Heaven"  to  the  great  poem  of  human  des- 
tiny, which  Diirer  enfolds  in  these  four  masterpieces.  Does  not 
the  "Eritis  sicut  Deus — scientes  bonum  et  malum"  of  the  Ser- 
pent, the  delusion  of  resemblance  to  God,  lead  the  first  of  man  to 
that  profound  despair,  to  that  great  human  Melancholy?  Who, 
when  contemplating  Diirer's  famous  print  of  that  title,  can  help 
recalling  the  line  from  Goethe's  "Faust":  "And  see  that  noth- 
ing can  be  known"  ?  And  yet,  why  should  that  winged  Genius, 
whom  we  see  there,  and  who,  being  apparently  supernatural, 
should  also  be  aware  of  things  supernormal,  why  should  he 
despair,  unless  it  be  of  all  human  knowledge  and  accomplish- 
ment? What  else  can  the  implements  of  human  toil  and  strife, 
which  we  see  there,  mean,  if  not  the  very  narrowness  and  limita- 
tion of  human  invention  as  compared  to  the  wonders  revealed 
by  Nature?  Are  not  the  big  nails,  which  we  see,  lying  in  the 
foreground,  the  same  as  were  used  to  fasten  to  the  cross  the 
tormented  limbs  of  Christ? 

Many  have  dwelt  on  the  question  as  to  what  might  be  the 
meaning  of  the  comet  within  the  rainbow,  which  appears  in  the 
background,  above  the  ocean.  I  believe  that,  in  order  to  illus- 
trate the  most  miraculous  in  Nature,  Diirer  here  refers  to  a 
phenomenon  which  may  have  actually  occurred  about  that  time. 
On  Raphael's  painting:  The  Madonna  del  Foligno,"  which 
was  painted  in  151 1,  hence  about  three  years  before  the  origin 
of  Diirer's  engraving,  we  see  above  the  little  angel  who  holds 
the  tablet,  a  rainbow  and  within  that  a  comet.     May  not  a  com- 


mon  basis  exist  here   for  both?     Astronomers  might   furnish 
us  with  interesting  explanations  to  that  question. 

But  let  us  return  to  "Adam  and  Eve"  and  its  possible  rela- 
tion to  the  other  three  engravings.  Do  we  not  encounter  in 
Diirer's  "Little  Passion"  in  wood-cut,  the  representation  of  Adam 
and  Eve  and  the  fall  of  man,  as  a  prologue,  so  to  say  ? 

The  Passion  of  Christ  is  the  most  powerful  fate  drama  of 
all  times;  and  here,  as  well  as  in  various  other  treatments  of 
the  subject  in  that  period,  we  see  it  prefaced  by  the  representa- 
tion of  the  first  mortals  and  their  downfall.  Is  there  not  here 
the  same  motive  and  explanation?  Diirer  depicts  in  this,  his 
greatest  work,  in  entirely  new,  deeply  felt  reflections  the  his- 
tory of  the  passion  of  the  human  soul.  Why  should  he  not  also 
here  have  begun  with  the  Creation? 

The  third  part,  "The  Heroes,"  hardly  requires  special  men- 
tion; here  also  it  appears  almost  certain,  that  the  lines  of  "Faust," 
quoted  above  the  verses  (in  Bayard  Taylor's  translation)  must 
have  originated  under  the  inspiration  of  Diirer's  print.  And 
this  presumption  becomes  most  strongly  convincing  in  the  last 
instance,  in  Diirer's  "St.  Jerome."  Faust  returns  to  his  penates 
from  the  Easter  walk,  and  now  enjoys  the  peaceful  warmth  of 
his  retreat,  which,  in  the  first  act,  appeared  to  him  as  an  "accursed 
gloomy  cellar-hole."  The  cosiness  of  the  interior,  which  also 
seems  to  form  the  principal  motif  in  Diirer's  engraving,  brings 
new  calm  and  restfulness  to  the  heart  "that  finds  itself."  And 
then  Faust  proceeds  to  translate  the  Holy  Scripture  from  its 
original  version  into  "his  beloved  German."  But  was  not  St. 
Jerome  the  learned  man  who  first  translated  the  Bible  into  Latin? 
In  this  last  instance  it  becomes  almost  certain  that  Goethe  was 
influenced  by  Diirer's  print.  And,  though  entirely  different  in 
form  and  content,  in  the  end,  as  regards  the  ultimate  design, 
Faust  signifies  the  same  as  Diirer's  great  tetralogy:  the  song  of 
fate  of  the  human  soul,  the  tragedy  of  the  puny,  earthly  hero 
face  to  face  with  the  greatness  of  the  All,  the  majesty  of  the 
Universe. 

R.  E. 


Prologue 

(Allegro) 

When  Faust  translates:     "At  first  there  came  the  deed," 
Has  he  the  Genesis  of  All  decreed? 
When  word,  mind,  force  and  deed  are  first  combined 
Then  only  we  the  true  beginning  find. 

Creation's  mighty  act  must  be  complete 

Before  the  work,  as  whole,  our  gaze  can  meet. 

The  Sun  in  Heav'n,  and  Nature's  golden  light, 

The  mighty  hills,  deep  seas  and  valleys  bright 

Arise  in  glory  at  Creation's  call, 

While  in  their  midst  stands  man — the  crown  of  all. 

Adam  and  Eve,  unclad  and  strong  and  free, 

Exult  in  Nature's  new-born  ecstasy; 

The  gleaming  tints  of  their  young  bodies  rise 

From  out  the  tender  green  of  Paradise. 

And  in  this  picture  clearly  is  it  seen 

In  the  beginning — Beauty  must  have  been. 


10 


Cat.  No.  1 


ADAM    AND    EVE 


PART  I 

Adam  and  Eve 


{Scherzo-Allegretto) 


Blissful  in  Paradise  are  they, 

For  happiness  only  yearning; 

And  Him,  who  these  wonders  doth  display 

Holding  them  and  all  beneath  his  sway, 

In  insolence  they  are  spurning. 

Exuberant  youth  no  gods  needs  to  see, 
Itself  in  presumption  adoring; 

Enthralled  by  the  senses'  tyranny 
It  sees  not  the  forces  that  set  it  free, 
Their  mighty  commandments  ignoring. 

For  young  are  they,  and  fierce  and  aglow 
With  Beauty's  intoxication, 
Their  wild  desires  no  limits  know, 
Incessantly  their  passions  grow 
Delirious  with  elation. 

Oh,  joys  of  Eden,  days  most  blest 
Of  young  mankind's  first  union! 
When  throbbing  heart  to  heart  is  pressed, 
Heedless  of  night  and  storm's  unrest 
In  the  bliss  of  that  communion. 

11 


FINALE  OF  PART  I 
The  First  Mortals 

(Andante  Lamentoso) 

Earth-born  evils  soon  intruded, 
Closing  to  them  Eden's  door, 
Shame  upon  their  bowed  heads  brooded 
That  so  proudly  smiled  before. 

And  in  mournful  lamentation 
They  bemoan  their  springtime  past ; 
Passion's  bliss  has  no  duration, 
Bitterly  they  see  at  last. 

On  they  roam  through  life,  arriving 
After  wand'ring  hot  and  steep 
At  the  end  of  all  their  striving — 
Till  they  rest  in  winter's  sleep. 

When  earth's  fruit  has  reached  its  flower, 
Oh!  why  fades  then  Spring's  bright  glow? 
Must  dark  sorrow  be  life's  dower 
That  we  may  its  meaning  know? 

Why  begrudge  our  bliss,  intruding 
Ruthlessly,  Creator,  thou? 
Thus,  in  dark  and  bitter  brooding, 
Men  beneath  their  burden  bow. 

12 


DlJRER 


Cat.  No.  10 


MELANCHOLIA 


PART  II 

Faust  : 

"And  see  that  nothing  can  be  known." 

The  Puny  Ones   (Melancholia) 

(Marcia  Funcbre) 
The  world-soul  sadly  meditating 
Sees  what  the  earth-born  soul  has  wrought ; 
The  weaknesses  of  his  creating, 
The  evils  that  his  ways  have  brought. 

Ocean,  sky,  in  all  their  glory 
Still  are  radiantly  displayed, 
But  what  a  mean  and  piteous  story 
Men  have  of  their  wonders  made ! 

See  the  gleaming  plane  extended, 
Hammer,  nails,  each  in  its  place, 
Torture-crosses  man  intended 
Thence  to  fashion  for  his  race. 

And  an  angel  sad  is  seated 

On  the  emblem  of  man's  wreck, 

On  the  stone  which,  flight-defeated, 

He  has  hung  about  his  neck. 

Weighted  by  the  millstone  pond'rous 
Down  into  the  depths  he  falls, 
Sees  no  more  the  rainbow  wondrous 
That  still  heavenly  light  recalls, 

Which  is  o'er  the  ocean  shining 
Where  a  comet  brightly  stands ; 
Evil  spirit,  ill  designing, 
Grasps  him  tightly  in  his  hands. 

13 


'Twas  from  him  came  the  delusion 
Mortals  like  to  God  might  be ; 
Puny  man  in  his  illusion 
Wanders  forward  blissfully. 

On  he  strides,  with  pride  inflated 
And  to  screen  the  Light,  applies 
Cloaks,  and  garments  he  created 
And  invented  culture's  lies. 

Time  and  space  he  fain  would  measure; 
Science  unto  him  shall  yield 
The  last  truth  as  priceless  treasure — 
Does  he  not  God's  power  wield  ? 

That  he  from  the  worm  ascended 
To  the  heights,  he'd  rather  see, 
Than  that  from  a  God  descended 
Is  his  mighty  majesty. 

Bonds  he  forges,  laws  for  duty, 
Gold  he  coins  to  swell  his  hoard ; 
Money  reigns  as  idol — Beauty 
Is  despised  and  ignored. 

And  the  few,  still  left,  declaring 
That  their  eyes  the  Godhead  see, 
Doubtful  grow  and  soon  despairing, 
Lest,  it  all  an  error  be ! 

1 1 


Dl'rer 


Cat.  No.  16. 


KNIGHT,    DEATH    AND    DEVIL 


PART  III 

Faust  : 

A  good  man,  through  obscurest  aspiration 
Has  still  an  instinct  of  the  one  true  way. 

or: 
Nor  Hell  nor  Devil  can  longer  affright  me. 

The  Heroes  (Knight  Death  and  Devil) 

(Andante  Maestoso) 

Ever  gazing  straight  before  him 
Walks  the  Hero,  firm  of  nerve, 
Fear  nor  wiles  have  power  o'er  him; 
From  the  path  he  does  not  swerve. 

His  own  smallness  he  confesses, 
Seeing  God's  great  power,  too; 
Safe  in  truth  he  onward  presses, 
Eager  but  his  deed  to  do. 

Not  far  distant  stray  his  glances, 
Seeking  truths  he  cannot  know, 
For  the  weak  would  he  break  lances, 
And  his  gaze  remains  below. 

Such  as  he,  earth-born  and  lowly, 
Here  on  earth  their  task  must  find, 
E'en,  though,  to  their  mission  holy 
God  himself  had  them  assigned. 

Heroes  need  but  firm  reliance 
On  the  will  that  in  them  dwells, 
That  to  weakness  bids  defiance 
And  all  falsity  dispels. 

15 


Not  by  meekly  God  imploring 
Does  the  Hero  prove  his  creed, 
Honor  is  his  true  adoring 
And  his  prayer  is — the  deed. 

High  above  the  hills  does  tower 
His  strong  castle  proud  and  grand, 
In  the  gloomy  forest  cower 
Crafty  devils  with  their  band. 

As  the  turrets,  spire  on  spire, 
Skyward  rise  into  the  blue, 
Soars  the  free  man,  high  and  higher. 
Proud  above  the  puny  crew. 

Free  of  fear  and  doubt  and  evil 
Walks  the  Hero  on  his  way, 
Straight  ahead,  though  Death  and  Devil 
Fain  would  lead  his  step  astray. 


PART  IV 

Faust: 

Ah,  when  within  our  narrow  chamber 

The  lamp  with  friendly  lustre  glows, 
Flames  in  the  breast  each  faded  ember, 

And  in  the  heart,  itself  that  knows; 
or : 
I  feel  impelled,  its  meaning  to  determinc- 
With  honest  purpose,  once  for  all, 
The  hallowed  original, 
To  change  to  my  beloved   German. 

16 


DlJRER 


Cat.  No.  7 


ST.   JEROME   IN    HIS    CELL 


The  Transfigured  Ones  (St.  Jerome  in  His  Study) 

(Adagio  Serafico) 

Stung  by  youthful  memories  surging 
The  wise  one  shunned  his  worldly  home, 
And  free  from  guilt  his  spirit  purging 
Did  out  into  the  desert  roam. 

There  in  silent  meditation 
Still  and  calm  he  looks  within, 
Till,  redeemed,  he  sees  creation 
In  all  its  wonders,  all  its  sin. 

Far  from  mankind's  noisy  empire 
To  his  God  he  draweth  near, 
Who  uplifts  him  high  and  higher, 
That  he  behold  his  workings  clear. 

Holy  silence,  pure  communing 
In  the  heart  its  balm  instils, 
The  pious  will  to  strength  attuning, 
Until  it  wonders,  too,  fulfils. 

He,  who  lonely  and  dejected, 
'Mid  the  human  throng  oft  stood, 
In  his  solitude  protected 
Found  a  comrade,  true  and  good. 

The  desert's  reign  of  terror  breaking, 
His  power  could  all  danger  tame, 
Love  even  in  the  beast  awaking — 
And  lo !  the  lion  to  him  came. 

l? 


And  when  the  quiet  hours  were  o'er 
Of  this  his  penitential  rest, 
His  God  and  soul  regained  once  more — 
Then  back  into  the  world  he  pressed. 

Within  his  warm  and  cosy  cell, 
He  works,  redeemed  by  holy  powers, 
And  meekly  by  his  side  doth  dwell 
The  comrade  of  his  desert  hours. 

God's  high  truth,  anew  related, 
Would  he  unto  all  repeat, 
To  this  his  life  is  dedicated 
Within  the  cheerful  still  retreat. 

Athwart  the  leaded  panes  falls  gently, 
Upon  the  old  head,  sunshine  bright ; 
As  he  writeth  on  intently, 
All  about  him  fades  from  sight. 

Life's  commotions,  wild  and  restive, 
Vanished  are  and  melt  away, 
Wondrous  harmonies,  and  festive, 
His  transfigured  spirits  sway. 

To  all  he'd  bring  the  gifts  supernal 
With  which  God's  mercy  crowned  his  days ; 
Thus,  effulgent  and  eternal 
Dawns  Paradise  upon  his  gaze. 

18 


Epilogue 

(Allegro,  Molto  con  Brio) 

Youth,  oft,  by  too  much  sunshine  blinded, 
Contemptuous  grows,  ungodly  minded. 

In  pride  and  lies  and  vanity 
The  puny  ones  their  kingdom  see. 

The  heroes  walk,  untroubled,  proud, 
They  need  not  doubt,  whose  acts  speak  loud. 
Transfigured  ones  ne'er  peace  forego, 
They  are  the  victors — for  they  know. 

Thus  Master  Albrecht  boldly  shows 
The  Soul  of  Mankind  as  it  grows ; 
In  life's  four  seasons  lets  us  view 
The  journey  which  it  must  pursue ! 
Lost  Paradise  he  shows  again 
As  seen  anew  by  Soul  of  Man ; 
Such  as  on  Earth  it  might  be  still 
But  for  the  erring  human  will. 

For  Beauty  is  great  Nature's  soul, 
Its  Majesty  all  arts  extol; 
It,  only,  gives  Life  inspiration, 
It  is  the  meaning  of  Creation. 


19 


CATALOGUE 

Arranged  in  the  order  of  Bartsch,  Vols.  7  and  14 

A.    ALBRECHT  DURER 
1471-1528 


1    Adam  and  Eve  B.  1 

(Engraved  1504) 
Strong  early  impression  of  the  first  state,  before  the  changes 
on  the  trunk  of  the  tree.     Printed  in  dark  ink,  on  paper  with 
the  water-mark  of  the  bull's  head. 

Margin  restored  and  repaired  in  various  places. 

The  reproduction  in  this  catalogue  has  been  taken  from  another 
impression  now  in  town,  and  kindly  placed  at  my  disposal  by 
its  owner. 


2    The  Sudarium,  held  by  two  Angels  B.  25 

(Engraved  1513) 
Brilliant  impression  in  perfect  condition. 
From  the  Rumpf  collection. 

20 


Durer  Cat.  No.  4 

THE  MADONNA  AND  CHILD 

B.  34 


3    The  Holy  Virgin,  with  short  hair,  standing  on  a  crescent, 
holding  the  Child  B.  33 

{Engraved  1514) 
Impression  of  great  beauty  and  brilliancy. 
Duplicate  from  the  collection  of  Mr.  J.  S.  Morgan. 


4    The  Holy  Virgin  giving  the  breast  to  the  Child  B.  34 

{Engraved  1503) 
Undoubtedly  the  loveliest  of  all  the  Diirer  Madonnas. 

It  is  less  a  Madonna  picture,  the  Virgin  being  represented  by 
a  plain  woman  in  the  Nuremberg  costume  of  the  period,  but 
represents  most  purely  inspired  and  beautifully  the  sanctity  of 
motherhood.  The  singing  bird  on  the  fence  in  the  rear  adds 
to  the  melodious  charm  and  warmth  of  the  exquisite  con- 
ception. 

Impression  of  supreme  beauty,  owing  to  weak  spots  mounted. 

From  the  Rumpf  collection. 

See  reproduction. 


5    The  Holy  Family  with  the  Dragon  Fly  B.  44 

One  of  the  earliest  engravings  in  the  work  of  the  master. 

Engraved  about  1495,  showing  the  early  monogram  of  Diirer. 

21 


Many  details,  especially  the  apparition  of  God  in  the  upper 
part  of  the  print  are  strongly  suggestive  of  Schongauer's  influ- 
ence. 

Of  unusual  beauty  of  impression  and  preservation. 
From  the  J.  S.  Morgan  collection. 


6    The  Five  Disciples  of  Christ  B.  46  to  50 

(A  set  of  five  engravings) 

St.  Philipp. 

Engraved  1526.     From  the  collection  of  Th.  Irwin. 

St.  Bartolomew. 

Engraved  1523.     From  the  collection  of  Morisson. 

St.  Thomas. 

Engraved  1514. 

St.  Simon. 

Engraved  1523.     From  the  collection  of  Th.  Irwin. 

St.  Paul. 

Engraved  1514.     From  the  collections  of  J.  Marshal  and 
Morisson. 

All  beautiful  impressions.     Duplicates  from  the  J.  S.  Morgan 
collection. 


7    St.  Jerome  in  his  Cell  B.  60 

(Engraved  1514) 


6 

E-i 

< 

u 


2 
w 

< 
Q 
O 
<J 


o 

w 
u 

Q 

w 


2 
w 

n 
> 

w 


Capital   plate,   in   a   magnificent   impression,   of    a   beautifully 
warm  and  silvery  tone. 

From  the  Scholtz  collection. 

See  reproduction. 


8    St.  Jerome  in  the  Desert  B.  61 

Another  representative  of  Diirer's  earliest  work,  undated. 

This  engraving  might  have  some  bearing  on  the  chain  of  thought 
illustrated  in  the  master's  four  capital  plates,  although  done 
at  a  much  earlier  date  and  in  a  different  size.  It  has  been 
referred  to  in  the  first  part  of  the  poem:  "The  Transfigured 
Ones,"  preceding  this  catalogue. 

Impression  of  great  beauty  in  perfect  condition. 

Hausmann  states  that  the  finest  impressions  of  this  plate  that 
he  has  encountered  were  on  paper  with  the  water-mark  of  the 
two  connected  towers,  also  to  be  found  here. 


9    The  Abduction  of  Amymone.  B.  71 

Early  print,  engraved  before  1500,  remarkable  for  the  land- 
scape. 

Beautiful  impression  from  the  Rumpf  collection. 


10    Melancholia  B.  74 

{Engraved  1514) 

23 


Capital  plate,  in  a  silvery  impression  of  great  brilliancy;  in 
perfect  condition. 

In  such  quality  of  the  greatest  rarity. 

See  reproduction. 


11    The  Dream  of  Idleness  B.  76 

(Undated) 

Probably  engraved  at  about  the  same  period  as  "the  four  naked 
women,"  B.  75  (1497),  the  first  date  shown  on  any  Durer 
engraving. 

Beautiful  silvery  impression  on  paper,  with  the  water-mark 
of  the  high  crown. 


12    The  Hostess  and  the  Cook  B.  84 

(Undated) 
Beautiful  impression  with  margin. 
From  the  Rumpf  collection. 


13    The  Oriental  and  His  Family  B.  85 

(Undated) 
Brilliant   impression. 
From  the  collections  of  Th.  Irwin  and  J.  S.  Morgan. 

94 


Marc  Antonio 


Cat.  No.  46 


ST.    CECILIA 


14    The  Standard  Bearer  B.  87 

(Undated) 

Impression  of  great  brilliancy. 
From  the  Dr.  Straeter  collection. 


15    The  Promenade  B.  94 

A  nobleman  and  lady  walking  in  a  wide  landscape,  behind  the 
trunk  of  a  tree  lures  Death,  holding  an  hour-glass. 

Beautiful  impression,  of  a  very  rich  and  warm  tone. 

Duplicate  from  the  collection  of  Mr.  J.  S.  Morgan. 


16  Knight,  Death  and  Devil  B.  98 

(Engraved  1513) 

Capital  plate  in  an  impression  of  the  greatest  beauty. 

In  perfect  condition,  with  margin.     Impressions  of  the  quality 
of  the  one  here  shown  are  of  the  greatest  rarity. 

From  the  Scholz  collection. 

See  reproduction. 

17  The  Coat  of  Arms  with  the  Cook  B.  100 

(Undated) 


Engraved  most  likely  in  the  same  period  as  the  coat  of  arms  of 
Death,  1503. 

Strong  and  beautiful  early  impression. 

Various  thin  spots  in  the  paper,  owing  to  having  been  taken 
from  a  mount,  the  upper  left  corner  invisibly  restored. 


18  The  Portrait  of  Philipp  Melanchton.  B.  105 

(Engraved  1526) 

Beautiful  impression,  on  paper  with  the  water-mark  of  the 
little  jug,  Hausmann  No.  33. 

19  Christ  taking  leave  from  his  Mother,  wood  cut.  B.  92 
Shown  here  to  compare  with  Marc  Antonio's  copy  on  copper. 

20  Portrait  of  Ulrich  Varnbuler,  wood  cut.  B.  155 

(Engraved  1522) 
Good  impression ;  in  perfect  condition.     Very  rare. 


26 


Note.— With  the  exception  of  Nos.  21,  25,  31,  39,  48,  54  and  56,  all  the 
following  items  have  been  acquired  by  me  from  the  collection  of  Mr.  Junius 
S.  Morgan. 

B.    LUCAS  VAN  LEYDEN 
Ley  den,  1494-1533 


21    The  Fall  of  Man  B.  7 

Interesting  specimen  of  the  master's  earliest  work,  without 
doubt  engraved  considerably  before  1508,  the  first  date  of  his 
engravings.  The  logical  treatment  of  representing  the  snake 
with  legs  and  a  human  face  before  the  punishing  change  is 
especially  interesting  and  amusing. 

Beautiful  silvery  impression  on  paper,  with  the  water-mark 
of  the  bull's  head.     Very  rare. 


22    The  same  subject  B.  10 

Engraved  in  the  latest  period  of  Lucas'  career,  about  1530, 
when  he  was  entirely  under  the  influence  of  Marc  Antonio, 
whom  he  influenced  in  his  early  work.  The  human  figures 
especially  show  the  Italian  style,  more  so  than  the  landscape, 
which  is  still  suggestive  of  the  master's  earlier  manner. 

Superb  impression;  in  perfect  condition. 


23    The  wife  of  Potiphar  accusing  Joseph  B.  21 

(Engraved  1512) 

The  third  of  a  set  of  five  plates,  illustrating  the  history  of 
Joseph. 

97 


Beautiful  rich  impression,  on  paper  with  the  water-mark  of 
the  Gothic  P. 

From  the  H.  J.  Brooke  collection. 


24    David  playing  before  Saul  B.  27 

( Undated.     Engraved  in  the  same  period  as  the  plate  "Mahomet 
and  the  Monk  Sergius,"  B.  126,  1508) 

Fine,  soft  and  uniform  impression;  undoubtedly  very  early, 
but  appearing  less  strong  than  others,  owing  to  light  inking  of 
the  plate.     On  paper  with  the  Gothic  P.     In  perfect  condition. 


25    David,  kneeling,  in  prayer  B.  29 

{Engraved  1520) 

One  of  the  few  etchings  made  by  Lucas  and  one  of  the  Incuna- 
bula of  that  art. 

Good  impression;  in  perfect  condition. 


26    Solomon  worshipping  the  Idols.  B.  30 

{Engraved  1514) 

Superb  impression. 

From  the  collection  of  Lord  Aylesford. 

On  paper  with  the  water-mark  of   three  fleurs-de-lis   with   a 
crowned  shield. 

28 


Lucas  van  Leyden 

THE    ELDERS    WATCHING    SUSANNAH 


Cat.  No.  27 


27    Susannah  and  the  Elders  B.  33 

(Undated.     Engraved  before  1508) 

The  title  of  this  print  should  rather  be:  "The  Elders  Watch- 
ing Susannah,"  whom  we  see  here,  fully  clad,  in  the  long  dis- 
tance, with  just  her  feet  in  the  water.  An  exquisite  example 
of  the  characteristic  style  of  the  young  artist,  who  was  not 
fourteen,  when  he  engraved  this  plate. 

Rich,  early  impression  of  greatest  beauty  and  in  perfect  con- 
dition. On  paper  with  the  water-mark  of  a  sun  within  a 
crowned  shield. 

From  the  Martin  Folkes  collection. 


28    The  Calvary  B.  74 

(Engraved  1517) 

Capital  plate  in  an  impression  of  the  first  state,  with  the  re- 
versed date,  which  has  been  changed  in  the  second  state. 

Magnificent  impression,  unusually  strong,  as  the  plate  has  been 
very  lightly  engraved  and  only  a  few  good  impressions  are 
known.  (Bartsch:  "Extremement  rare.")  In  perfect  con- 
dition, with  the  exception  of  a  red  stain  on  the  lower  border 
toward  the  left. 

From  the  Liphart  collection. 


29    The  Return  of  the  Prodigal  Son  B.  78 

(Undated) 
Engraved  in  the  master's   strongest  manner,   probably    1510. 

29 


The   architecture  shows   the  same   treatment   as   that   on   the 
"Ecce  Homo"  of  the  same  year. 

Strong  early  impression,  but  repaired  in  some  places. 

Water-mark:     Sun  within  crowned  shield. 


30    The  Madonna,  holding  the  Child,  standing  on  a  crescent 
in  a  niche.  B.  81 

(Engraved  about  1512) 

The  same  subject  as  often  treated  by  Diirer  and  therefore  in- 
teresting for  the  sake  of  comparison  in  this  exhibit. 

Good  impression. 


31    St.  Jerome  in  Penitence  B.  113 

(Engraved  1516) 

Fair  but  rather  late  impression,  shown  here  to  compare  with 
Durer's  treatment  of  the  same  object. 


32    The  Temptation  of  St.  Anthony  B.  117 

(Engraved  1509) 

( .hie  of  the  most  beautiful  prints  of  the  work  of  Lucas,  done 
when  he  was  only  fifteen  years  old. 

30 


Lucas  van   Leyden 


Cat.  No.  32 


TEMPTATION    OF    ST.    ANTHONY 


Superb  impression  of  an  unusually  warm  and  rich  tone.     On 
paper  with  the  water-mark  Hausmann  No.  47. 

From  the  Brook  collection. 

See  reproduction. 


33  St.  George  B.  121 

(Engraved  before  1508  in  the  master's  early  manner) 

Impression  of  great  beauty,  on  paper  with  the  water-mark  of 
the  Serpent.     Of  greatest  rarity. 

From  the  Liphart  collection. 

34  The  Dance  of  Mary  Magdalen  B.  122 

(Engraved  1519) 

The  master's  largest  and  most  famous  plate,  in  an  impression 
of  perfect  condition  and  unsurpassed  beauty.  On  paper  with 
the  Gothic  P. 

See  reproduction. 

35  Mahomet  and  the  Monk  Sergius  B.  126 

(Engraved  1508;  the  first  dated  print  by  Lucas) 

Also  this  plate  has  been  very  lightly  engraved  and  admitted  of 
only  very  few  strong  impressions  most  of  the  good  ones  known 

si 


being  of  the  strength  of  the  impression  here  shown.  But 
there  are  darker  ones  to  be  found,  although  extremely  rare, 
the  majority,  however,  are  still  much  weaker  than  the  present 
print.     On  paper  with  the  water-mark  of  the  little  dog. 

From  the  Liphart  collection. 


36    The  Poet  Virgil  suspended  in  a  basket  B.  136 

(Engraved  1525) 

Capital  plate  of  the  period  of  the  master's  career,  in  which 
he  stood  entirely  under  the  influence  of  Diirer,  as  is  clearly 
shown  by  this  engraving. 

Vasari,  who  also  seems  to  have  realized  the  great  similarity 
of  style,  tells  a  story  of  a  competition  between  the  two  artists 
in  this  plate  and  Diirer's  engraving  "Knight,  Death  and  Devil" 
(also  here  shown).  As  the  latter  is  dated  1513  this  does  not 
seem  to  be  the  case,  but  it  is  most  probable  that  Lucas  tried 
to  vie  with  Diirer's  engraving  in  his  work  here,  as  there  is  much 
both  in  size  as  well  as  in  general  treatment  that  strongly  sug- 
gests the  influence  of  Diirer's  print. 

Impression  of  extreme  brilliancy,  a  tear  invisibly  repaired. 
From  the  Bern.  Keller  collection. 

See  reproduction. 


37    The  Promenade  B.  144 

(Engraved  1520) 
Exquisite  little  plate  in  an  impression  of  extreme  brilliancy. 
From  the  collections  of  H.  J.  Brooke  and  Hermann  Weber. 

3* 


Lucas  van  Leyden 


Cat.  No.  36 


VIRGIL   IN    THE   BASKET 


38    The  Milkmaid  B.  158 

{Engraved  1510) 

Lucas  van  Leyden's  masterpiece,  and  one  of  the  finest  engrav- 
ings known  in  history.  There  is  nothing  in  the  work  of  Diirer 
or  any  other  master  which  surpasses  this  engraving,  both  in 
technical  perfection  as  well  as  in  truth  of  sentiment  and  life. 

The  engraving  is  considered  to  be  the  first  Dutch  genre  scene. 

The  impression  here  shown  is  generally  considered  to  be  the 

finest  known. 

On  paper  with  the  sun  in  crowned  shield  water-mark. 

See  reproduction. 


39  The  Self  portrait  with  the  skull  B.  174 

{Engraved  about  1519) 
Good  impression. 

40  Adam  and  Eve,  wood  cut  B.  2 

Beautiful  impression ;  in  perfect  condition. 

Woodcuts  by  Lucas  van  Ley  den  are  of  the  greatest  rarity. 


33 


C.    MARC  ANTONIO  RAIMONDI 
About  1475-1534 


Although  some  of  the  master's  capital  plates  after  Raphael's 
design  (which  formed  the  greater  part  of  his  work)  are  here 
shown,  special  stress  in  this  selection  has  been  laid  on  the 
earliest  work  of  his  burin  when  he  was  still  under  the  influ- 
ence of  his  first  teacher,  Fr.  Francia. 

Representative  prints  of  that  period  are  excessively  rare,  and 
this  collection  is  remarkable  for  including  some  of  the  finest 
specimens  in  exceptional  impressions. 


41    Adam  and  Eve  driven  out  of  Paradise  B.  2 

(Said  to  be  engraved  after  Raphael's  drawing  from  Michel- 
Angelo's  Fresco  in  the  Sistine  Chapel.)    Bartsch:    "Tres  rare." 

Superb  impression,  in  beautifully  rich  and  warm  tone. 


42    God  ordering  Noah  to  build  the  Ark  B.  3 

(After  Raphael) 
Impression  of  the  same  quality  as  the  preceding  one. 


43    The  Slaughter  of  the  Innocents  B.  18 

(After  Raphael) 

The  version  with  the  "chicot"  (the  little  fir  tree  in  the  upper 
right  corner,  which  is  missing  in  B.  20). 

54 


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Capital  plate  of  the  master  in  one  of  the  few  known  impressions 
of  the  first  state,  before  the  inscription  and  monogram  on  the 
pedestal  in  the  middle  ground  on  the  left.  Bartsch  mentions 
only  one  impression  of  this  state  known  to  him. 

Magnificent  impression,  repaired  in  several  places. 

See  reproduction. 


44    The  same  subject  B.  20 

The  version  without  the  "chicot." 

Brilliant  impression  of  the  greatest  beauty  and  in  perfect  con- 
dition. 

These  two  versions  have  for  long  given  rise  to  a  controversy 
as  to  which  of  them  was  to  be  considered  the  original.  The 
majority  of  authorities  now  are  of  the  opinion  that  both  were 
engraved  by  Marc  Antonio.  (See  Arthur  M.  Hind  in  the 
"Print  Collectors'  Quarterly,"  Vol.  3,  No.  3.) 


45  The  Descent  from  the  Cross  B.  32 

(After  Raphael) 
Bartsch :     "Piece  tres  rare." 
Magnificent  impression. 
From  the  collection  of  Sir  Peter  Lely. 

46  St.  Cecilia  B.  116 

(After  Raphael) 

35 


One  of  the  most  beautiful  and  famous  pieces  of  Marc  Antonio's 
work,  in  an  impression  of  unsurpassed  beauty  and  brilliancy. 

See  reproduction. 


47    Dido  B.  187 

(After  Raphael) 
Of  greatest  rarity.     Strong  early  impression  on  browned  paper. 


48    The  Judgment  of  Paris  B.  245 

(After  Raphael) 

Capital  plate,  in  brilliant  early  impression,  with  margin,  fully 
described  under  No.  20  in  my  special  Marc  Antonio  Catalogue. 

From  the  Engelmann  collection. 


49    The  Rising  of  Aurora  B.  293 

(After  Raphael) 
Superb  impression ;  in  perfect  condition.     Excessively  rare. 


50    The  young  and  the  old  Bacchant.  B.  294 

(After  Raphael  or  Giulio  Romano) 
Very  rare;  beautiful  perfect  impression. 
From  the  Liphart  collection. 

36 


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Marc  Antonio 


Cat.  No.  53 


CUPID   AND    THREE   INFANTS 


51    Orpheus  and  Euridice  B.  295 

Bartsch  thinks  that  this  engraving  was  done  after  the  master's 
own  design,  in  his  early  manner. 

Impression  of  greatest  beauty;  in  perfect  condition;  of  the 
greatest  rarity. 


52    The  Faun  and  the  Child  B.  296 

(Said  to  be  after  Raphael) 
Superb  impression. 
From  the  Lord  Bathurst  collection. 


53    Cupid  playing  with  three  Infants  B.  320 

One  of  the  earliest  pieces  of  the  artist,  dated  1506;  it  is  not 
known  after  what  master  the  plate  has  been  engraved. 

Magnificent  rich  early  impression  in  superb  condition.     Of  the 
greatest  rarity. 

See  reproduction. 


54    Mars,  Venus  and  Cupid  B.  345 

Another  very  early  specimen,  said  to  be  engraved  after  Man- 
tegna,  dated  1508. 

Beautiful  impression ;  in  perfect  condition. 

From  the  Engelmann  collection. 

37 


55  Apollo  and  Hyacinthus  B.  348 

Said  to  be  engraved  after  the  design  of  Fr.  Francia. 

One  of  Marc  Antonio's  earliest  engravings  entirely  in  the  style 
of  the  Fifteenth  Century.  Dated  1506.  A  magnificent  piece 
of  the  greatest  beauty  which  alone  would  give  to  its  author 
the  rank  of  one  of  the  greatest  in  his  art.  However,  it  exists 
only  in  few  impressions  and  is  therefore  hardly  known  to  the 
collector. 

The  impression  here  shown  is  of  unique  beauty,  most  likely 
the  finest  in  existence.  Nothing  more  beautiful  in  the  realm 
of  old  engravings  can  be  imagined. 

From  the  Reiss  collection. 

See  reproduction. 

56  The  Virtues  B.  386  to  392 

(A  set  of  seven  plates,  engraved  after  Raphael) 
Charity Bartsch  No.  386 


Faith 

Justice 
Fortitude  . . 
Temperance 

Hope 

Prudence  . . 


387 
388 
389 
390 
391 
392 


Most  beautiful,  uniform,  early  impressions;  in  perfect  condi- 
tion. 

From  the  Engelmann  collection. 

57    The  Two  Women  of  the  Zodiak  B.  397 

(After  Raphael) 

38 


Marc  Antonio  Cat.  No.  57 

THE   TWO    WOMEN    OF   THE   ZODIAK 


One  of  the  most  beautiful  plates  of  the  master's  work  in  an 
impression  of  greatest  brilliancy  and  perfect  preservation.  Of 
greatest  rarity. 

See  reproduction. 


58    The  Boy  holding  a  Flute  B.  467 

(In  accordance  to  Bartsch  engraved  after  Baccio  Bandinelli) 
Beautiful  impression. 

From  the  Astley  collection. 


59    The  Climbers  B.  487 

Engraved  after  Michel  Angelo's  "Cartoon  for  the  Battle  of 
Pisa,"  the  Landscape  adapted  from  Lucas  van  Ley  den's  engrav- 
ing, "Mahomet  and  the  Monk  Sergius"  (here  shown)  dated 
1510. 

Marc  Antonio's  masterpiece,  in  an  impression  which  is  consid- 
ered to  be  one  of  the  finest  known. 


60     Christ  taking  leave  of  his  Mother  B.  636 

Copy  in  copper  engraving  after  Diirer's  woodcut,  shown  here. 

As  Marc  Antonio  even  used  Diirer's  monogram,  the  latter  went 
to  Italy  to  proceed  against  the  copyist.  The  case  is  said  to 
have  been  amicably  settled,  but  Marc  Antonio  was  forbidden 
the  further  use  of  Diirer's  monogram. 

Superbly  rich,  early  impression,  in  such  tone  very  rare,  repaired 
in  the  white  paper  near  the  right  border. 

39 


APPENDIX 


ALBRECHT  DURER'S  MYSTISCHE  TETRALOGIE 

EINE   PHANTASIE    IN   VERSEN 
Von  Richard  Ederheimer 

Prolog 

(Allegro) 

Wenn  Faust  erkennt:     "Im  Anfang  war  die  That," 
1st  er  dem  Sinn  des  ersten  Seins  genaht? 
Was  Wort  und  Sinn  und  Kraft  und  That  gethan, 
Vereint  erst  mutet  als  der  Anfang  an. 

Erst  wenn  die  ganze  Schopfungsthat  vollbracht, 
"Das  Werk"  als  Anfang  uns  entgegen  lacht. 
Das  Himmelslicht,  den  Goldglanz  der  Natur 
Und  Berg  und  weites  Meer  und  helle  Flur, 
Sie  Hess  in  Pracht  die  Schopfung  licht  ersteh'n; 
In  Mitt'  als  Krone  wir  den  Menschen  seh'n. 

Adam  und  Eva,  hiillenlos  und  rein, 

Sie  schwelgen  froh  im  jungen  Sonnenschein ; 

Und  aus  dem  Griin  der  Paradiesespracht 

Der  lichten  Leiber  Glanz  entgegen  lacht. 

Bald  wird  uns  klar,  wenn  wir  dies  Bildniss  sehen, 

Es  muss:     "Im  Anfang  war — die  Schonheit"  stehen. 

ERSTER  TEIL 

Adam  und  Eva 

(S  cherso-Allegretto ) 

Sie  schwelgen  in  Freuden  im  Paradies, 
Genuss  ist  ihr  einziges  Trachten; 


Und  den,  der  alle  die  Wunder  verhiess, 
Der  sie  und  Alles  erstehen  liess, 
Voll  Ubermuts,  kiihn  sie  missachten. 

Nicht  suchet  nach  Gottern  die  Jugendkraft, 

Im  Selbst  nur  weilt  sie  vermessen, 

Ganz  in  der  eigenen  Sinne  Haft. 

Die  Machte,  die  sie  dem  Nichts  entrafft, 

Und  ihr  Gebot  sind  vergessen. 

Denn  jung  sind  sie  und  kiihn  und  wild 
Und  Gliicks — und  Schonheits — trunken  ; 
Ihr  Sehnen  wahret  ungestillt. 
Von  heissem  Durst  sind  sie  erfullt, 
Im  Taumel  ganz  versunken. 

O  sel'ge  Paradieseslust 
Der  ersten  Menschenkinder, 
Die  wonnetrunken,  Brust  an  Brust, 
Des  Augenblickes  nur  bewusst, 
Nicht  kennen  Nacht  noch  Winter. 


FINALE  DES  ERSTEN  TEILS 

Die  Ersten  Menschen 

(Andante  Lantcntoso) 

Doch  des  Alltags  feindlich  Drangen 
Schloss  des  Paradieses  Thor ; 
Mud'  gesenkt  die  Haupter  hangen, 
Die  so  stolz  gelacht  zuvor. 

Und  voll  Klagen  und  in  Trauer 
Weinen  sie  dem  Fruhling  nach; 
Dass  der  Taumel  ohne  Dauer, 
Bitter  trat  das  bald  zutag. 

Und  es  fuhrt  der  Pfad  des  Lebens 
Durch  der  Sonne  heisse  Glut 


Zum  Verglimmen  ihres  Strebens, 
Bis  im  Winterschlaf  es  ruht. 

Wenn  der  Erde  Friichte  reifen, 
Warum  stirbt  des  Friihlings  Pracht? 
Naht,  dass  wir  es  erst  begreifen, 
Stets  im  Leben  Not  und  Nacht? 

Musstest  uns  das  Gluck  veriibeln, 
Grausamer  Erzeuger,  Du? 
Und  zerknirschtem,  bittrem  Grubeln 
Wenden  sich  die  Menschen  zu. 


ZWEITER  TEIL 

Faust  : 

Und  seh',   dass  wir  nichts  wissen  konnen. 

DIE    KLEINEN    (Melancholia) 

(Marcia  Funebre) 

Gnibelnd  weilt  der  Geist  der  Erde 
Auf  dem  Werk  von  Menschengeist, 
Und  mit  trauernder  Geberde 
Er  auf  all  ihr  Irren  weist. 

Noch  erstrahlen  Meer  und  Himmel 
In  der  alten  lichten  Pracht, 
Doch — was  hat  das  Neidgewimmel 
Aus  den  Wundern  all  gemacht? 

Sieh  des  Hobels  Schneide  glimmern, 
Blick  auf  Hammer,  Nagel  dann, 
Marterkreuze  draus  zu  zimmern, 
Werkzeug  sich  der  Mensch  ersann. 

Auf  dem  Stein,  den  flugverzagend 
Sich  der  Mensch  legt'  um  den  Hals, 
Sitzt  ein  Engel,  bitter  klagend, 
Ob  des  Erdgebor'nen  Falls. 


Von  des  Miihlsteins  Wucht  gezogen, 
Klebt  der  an  der  Tiefe  ganz; 
Sieht  nicht  mehr  den  Regenbogen, 
Der  ihm  weiset  Himmelsglanz ; 

Der  dort  leuchtet  uberm  Meere, 
Wo  Cometenlicht  ihm  lacht, 
Denn  der  bose  Geist  der  Schwere 
Hat  ihn  ganz  in  seiner  Macht. 

Dem  gelang's  ihm  einzuflosen 
Seiner  Gottergleichheit  Wahn ; 
Und  begliickt  im  Glanz  des  Bosen 
Zieht  der  Kleine  seine  Bahn. 

Stolz  und  Hochmut  ihn  eriiillen, 
Also  wandelt  er  die  Spur ; 
Schuf  fur  zuviel  Licht  sich  Hullen 
Und  die  Lugen  der  Cultur. 

Raum  und  Zeit  will  er  ergriinden, 
Und  durch  seine  Wissenschaft 
Will  er  alle  Wahrheit  finden, 
Hat  er  denn  nicht  Gotterkraft? 

Dass  er  einst  vom  Wurm  entstammte, 
1st  zu  glauben  er  bereit 
Eher,  als  dass  Gott  entflammte 
Seine  hohe  Herrlichkeit. 

Schuf  sich  Fesseln  und  Gesetze, 
Geld  als  Mittel  seiner  Macht; 
Gold  regiert  als  hochster  Gotze — 
Und  die  Schonheit  wird  verlacht. 

Die  noch  iiber  Alle  ragen, 
Die  der  Gottheit  noch  gewahr, 
Plagen  Zweifel   und   Verzagen, 
Ob  nicht  Alles  Irrtum  war? 


DRITTER  TEIL 

Faust  : 

Furchte  mich  weder  vor  Holle  noch  Teufel. 

oder: 
Ein  guter  Mensch  in  seinem  dunklen  Drange 
1st  sich  des  rechten  Weges  wohl  bewusst. 


Die  Helden 

(Ritter,   Tod   und  Teufel) 

(Andante  Maestoso) 

Ohne  rechts  und  links  zu  schauen 
Fiihrt  des  Helden  fester  Tritt; 
Kein  Versuchen  und  kein  Grauen 
Lenken  seitwarts  seinen  Schritt. 

Klar  erkennt  er  seine  Kleinheit 
Und  begreift  des  Hoh'ren  Macht; 
Unantastbar,  stark  in  Reinheit, 
1st  er  nur  auf  That  bedacht. 

Nicht  in  weltentwandten  Weiten 
Sucht  er,  was  er  nicht  begreift; 
Allem  Schwachen  gilt  sein  Streiten, 
Und  sein  Blick  auf  Erden  schweift. 

Denn  fur  ihn,  der  erdgeboren, 
Liegt  das  Werk  in  dieser  Welt, 
Ward  er  selbst  auch  auserkoren 
Von  der  Macht,  die  All  erhellt. 

Helden  brauchen  nur  den  Glauben 
An  des  eignen  Willens  Kraft; 
Der  muss  alle  Schwache  rauben, 
Und  der  Falschheit  Schein  erschlafft. 

Nicht  in   demutsvollen   Mienen 
Fleht  der  Held  zu  Gott  um  Rat. 
Ehre  heist  sein  Gottesdienen, 
Und  sein  Beten  ist — die  That. 


Frei  auf  Hohen,  hehr  im  Blauen, 
Ragt  sein  stolzes  Ritterschloss ; 
Drunten,  in  der  Waldschlucht  Grauen, 
Lauert  listig  Teufelstross. 

VVie  die  hohen  Turme  streben 
In  des  Himmels  Blau  hinein, 
Schwingt   sich   freies   Herrenleben 
Stolz  empor  von  dem,  was  klein. 

Ohne  Furcht  und  ohne  Zweifel 
Ziehen  Helden  ihren  Weg, 
Grad  hinaus,  ob  Tod  und  Teufel 
Auch  bedrohen  ihren  Steg. 


VIERTER  TEIL 

Faust  : 

Ach,  wenn  in  unsrer  engen  Zelle 

Die  Lampe  freundlich  wieder  brennt, 
Dann  wirds  in  unserm  Busen  helle, 

Im  Herzen,  das  sich  selber  kennt. 
oder : 
Mich  drangts  den  Urtext  aufzuschlagen 
Mit  redlichem  Gefiihl  einmal 
Das  heilige  Original 
In   tnein   geliebtes   Deutsch    zu    ubertragen. 

Die    Verklarten 

(Der  Heilige  Hieronymus  im  Gehause) 

(Adagio  Serafico) 

Von  der  Jugend  Drang  gepeinigt, 
Mied  der  Weise  Hab'  und  Haus ; 
Bis  er  ganz  von  Fehl  gereinigt 
In  die  Wuste  zog  er  aus. 

Dort  in  heilig  reinem  Schweigen, 
Still  und  fromm  er  Einkehr  halt, 
Bis  sich  dem  Verklarten  zeigen 
Fehl  und  Wunder  seiner  Welt. 


Fern  der  Menschen  wildem  Toben, 
1st  er  seiner  Gottheit  nah 
Und  von  ihr  emporgehoben, 
Dass  er  all  ihr  Wirken  sah. 

Heilig  hohe,  reine  Stille 
Gab  der  Seele  Balsamsaft; 
Es  erstarkt  der  fromme  Wille, 
Dass  er  selber  Wunder  schafft. 

Der,  von  Menschen  noch  umgeben, 
Einsam  und  verlassen  stand, 
In  der  Wuste  reinem  Leben 
Treusten  der  Gesellen  fand. 

Denn  der  Wuste  wilden  Schrecken 
Macht  sein  Wirken  mild  und  zahm, 
Musst'  im  Tier  selbst  Liebe  wecken- 
Und  der  Lowe  zu  ihm  kam. 

Als  er  in  den  stillen  Stunden, 
In  der  Wuste  Biissergluck, 
Gott  und  Seele  neu  gefunden, 
Zog  er  in  die  Welt  zuriick. 

In  der  warmen,  trauten  Zelle 
Heilig  der  Verklarte  weilt, 
Und  der  Wiistenzeit  Geselle 
San  ft  mit  ihm  die  Kammer  teilt. 

Neu  der  Menschheit  kundzugeben 
Seiner  Gottheit  hochstes  Wort, 
Dem  ist  nun  geweiht  sein  Leben 
An  dem  traulich  stillen  Ort. 

Durch  die  bleigefassten  Scheiben 
Stromt  der  Sonne  Flut  herein 
Auf  den  Alten,  der  im  Schreiben 
Schwelgt  in  Spharenmelodein. 


Seines  Lebens  wildes  Drangen 
1st  verflogen,  ist  verrauscht ; 
Wunderbaren   Feierklangen 
Des  Verklarten  Seele  lauscht. 

Aller  Menschheit  will  er  spenden, 
Was  sein  Gott  ihm  gnadig  wies, 
Sonnig  wirkend; — sonder  Enden 
Lacht  ihm  so — das  Paradies. 

Epilog 

(Allegro,  Molto  con  Brio) 

Vom  Sonnenubermass  umnachtet, 
Die  Jugend  frevlerisch  verachtet. 

In  Hochmut,  Stolz  und  falschen  Scheinen 
Erblicken  ihre  Welt — die  Kleinen. 

Stark,  unbeirrt  die  Helden  wandeln, 
Nicht  zweifeln  sie,  die  schaffend  handeln. 

Den   Frieden  nie  Verklarte  missen, 
Sie  sind  die  Sieger,  denn — sie  wissen. 

So  Meister  Albrecht  kiihn  bezwang 

Der  Menschenseele  Werdegang. 

In  Fruhling,  Sommer,  Herbst  und  Winter 

Malt  er  den  Pfad  der  Menschenkinder ; 

Zeigt  das  verlor'ne  Paradies 

Und  wie  sich's  neu  der  Seele  wies, 

Das  stets  bestehen  sollt'  auf  Erden. 

Der  Mensch  nur  Hess  es  anders  werden. 

Denn  Schonheit  war  der  Schopfung  Sinn, 

All  Kiinstlerstreben  drangt  dahin ; 

Sie  einzig  alles  Sein  erhellt, 

Die  Schonheit  ist  der  Sinn  der  Welt. 

Richard  Ederheimer. 


SOUTHERN  qp™*  °f  Ca,i'°rnia 
405  HT.2S  Avenue  2^  Ui!RARV  FAC»-'TY 


tD-UFM 


Form  L9 


0 


986 
WW 

■-■ 


.  ■ 


M.MPHIET  BINOlT" 

; Syracuse,  N.  Y. 

^^   Stockton,  Cali 


,.^  SOUTHERN  REGIONAL 


LIBRARY  FACILITY 


M      000  289  104   2 


